Adam Jeppesen: Out of Camp, 16 Jul 2016 — 25 Sep 2016
Exhibitions

Adam Jeppesen: Out of Camp

All alone from the north pole to the Antarctic in 487 days – a journey in total solitude. Beyond the traditional experience of space and time. Always with the camera in tow to document the rugged landscapes and vast expanses. The photos serve as a confirmation for certain moments that nevertheless appear as the enigmatic presentation of a distorted reality. Did I really experience it like that? And how can I convey this existential experience? In the current series, Adam Jeppesen reconstructs his adventures less with the content of the photos them-selves and more with their presentation.

The surfaces of the negatives acquired scratches, spots and dust deposits during the trip – concrete traces of the expedition. Traces that Adam Jeppesen consciously maintained and continued to develop. By using different processes, he’s able to free the photograph from its typical two-dimensionality. In this way, he carved up the XCopy series into manageable for-mats, copied them and finally stitched them back together to recreate the original motif. The segmenting and reassembling of imperfect elements expands his prints by adding a per-formative, sculptural aspect – photography is more of an object in this instance than of a mere copy. In the Folded series by contrast, he periodically folds the landscape motifs print-ed on rice paper. In this way, a delicate network of DIN A4 pages forms large sequences with the images – a tenuous framework on which barely visible lines allow the viewer to orient himself. Instead of through the width of the photographic surface, the image manifests its detailed elements through depth. In the Ghosts series, Adam Jeppesen also experiments with the printing processes of the photographic medium. It was at that point that he changed the photogravure technique so that the printing block was not coated with ink for each print-ing but rather just once – allowing the scenes to then fade away page by page like a specter. Until in the end, only the white surface remains and the decision of which image is the “perfect” one is consciously left to the viewer. Yet in Scatter, he breaks down the overall context of the images and photographic surface into individual parts and blurred pixels. In contrast to his previous series, he doesn’t reassemble them but rather leaves them in their atomized form – the eye must find its own way through abstraction and concrete detail. A visual journey that questions familiar photographic forms of appearance and perception in a light-hearted manner.

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